Also-rans: demons, Durban, WWWINGS and weapons

Mind if I dump this dark weird stuff here? Okay, thanks. Here are some strange, experimental albums that didn’t make the final cut.

For example, Elysia Crampton’s critically acclaimed Demon City (Break World Records), which was deeply unsettling in a pleasing, genre-bending way. Maybe it was all that demonic laughter she kept dropping in. No, really.

I think I called Antwood’s Virtuous.scr (Planet Mu) “throbbing innards” for Electronic Sound. But in a good way. There’s also the twisted grime of WWWINGS’s PHOENIXXX (Planet Mu). If you want sparse, try the angry Fatima Al Qadiri’s Brute (Hyperdub) or Lucy’s industrial Self Mythology (Stroboscopic Artefacts).

I’m not meant to be covering compilations, but the throbbing Durban breaks of Gqom Oh! (GQOM OH) scared the life out of me. As did the crumbling white noise of Ceramic TL’s Sign Of The Cross Every Mile To The Border (Halocline Trance). Finally, the legend that is Roly Porter was back with some classical noise on Third Law (Tri Angle), there was a mega triple bashment LP from (deep breath) Alix Perez, Chimpo, Fixate, Fracture, Om Unit, Sam Binga and Stray (phew) in the shape of Who Is Richie Brains (Exit Records).

Oh and I have to mention the debut album just out from Seattle’s Homemade Weapons. The precision-engineered Negative Space (Samurai Music) seemed to point towards something interesting and new for drum ‘n’ bass.





Scroll all of the best 2016 electronic albums by clicking here.